王海川art

在北碚东阳，我找到了一栋建于60年代的青砖小楼，打扫修整后，计划作为画廊空间，用来呈现重庆本地艺术家的展览。In Dongyang, Beibei, I came across a 1960s blue-brick house. After some cleaning and renovation, I'm transforming it into a gallery for exhibitions featuring local artists from Chongqing 重慶市北碚区の東陽で、1960年代に建てられた青いレンガの小さな建物を見つけました。掃除と改装を経て、地元・重慶のアーティストたちの展示を行うギャラリースペースとして活用する予定です。

壹项目 #oneproject

小二层空间用途说明｜一,二层为展厅,为驻留提供展示 壹吧定期举办学术讲座和论坛 用途： 小二楼二层设有 5间独立房间，作为驻留学者及跨界研究小组的工作与居住空间。该空间适用于从事人文学科、社会研究、当代艺术、建筑与哲学等领域的驻留计划。每间房配备基础居住设施、写作/创作工位，并可根据需求灵活布置，支持个体研究与团队合作。Usage : The second floor of the Xiao'er Building features five private rooms designed for resident scholars and interdisciplinary research groups. Ideal for projects in the fields of humanities, contemporary art, sociology, architecture, and philosophy, each room includes basic living facilities and a dedicated workspace, and may be customized for solo or collaborative use.

Wang Haichuan: RifflingThrough History | Artist Interview

《夏天》 藏纸丙烯Acrylic on Tibetan paper 25.5x37.5cm 2024.

新年2024

1 Project空间

Wang Haichuan’s creative style is in some ways not unlike a phenomenon common in the avant-garde poetry of the 1980s and 90s, in which poets and artists hoping to avoid clichés and stale expressions either circumspectly or directly rejected the use of beautiful diction and aesthetics to freshly reorganize and understand the world. Thus, a dense but seemingly unrelated collection of concepts and possibilities interwove to produce new language and paths forward; the leaps and flows of information seemed unexpected and turbulent, and the splintered collage of juxtapositions appeared absurd or bizarre as common logic was breached. However, with the aid of its own internal rhetoric and spiritual rebuilding, the features and layers of meaning presented by such works were rich and fertile, in a complex but expansive space that often possessed the subtle depth of the theatrical and allegorical. With this, it became more possible to read or observe the intense estrangement of personal experience. In this sense, Wang Haichuan’s paintings can be seen as a kind of “writing via art.” As an artist adept at capturing and utilizing images, Wang Haichuan extracts materials from the trenches of time, excavating memories from among the extensive threads of culture, and gathering fragments in order to interrogate the meaning of history as it extends into the present day. Simultaneously, because he lives amid the complex progressions of the current era, Wang Haichuan also pays close attention the present moment as it is permeated with the tremendous flow of news and data, observing the changes in our daily dose of information. With a kind of horizontal scanning and sifting, memory can be reproduced from all the widespread and immediate social events and unconstrained realities, and history and its corresponding echoes can be solidified. The torrent of information flows unceasingly and is assembled in Wang Haichuan’s meticulously constructed paintings, where in the complex crisscrossing of architecture, art, religion, literature, and even epic poems of history and culture there are many encounters, like a sewing machine and umbrella on an operating table. At the same time, this also forms an artist’s vivid depiction of our contemporary era. Zhang Er Translated by Eleanor Goodman